Wounding realities and ‘painful excitements’: real sympathy, the imitation of suffering and the visual arts after Burke’s sublime

2017 ◽  
Author(s):  
Aris Sarafianos
Keyword(s):  
Visual Field ◽  
Visual Arts ◽  
Aesthetic Experience ◽  
Modern Art ◽  
Vital Role ◽  
Art Practices ◽  
Entire Visual Field ◽  
The Way

This chapter shows the vital role of injury and suffering in redefining art practices and aesthetic experience from the 1750s onwards. It investigates the role of Burke’s sublime in the introduction of a new lust for pain, which was combined with an equally painful call for the amplification of visual experiences – real and imitated. Sarafianos stresses Burke’s uncivil redefinition of sympathy as a painful delight in the suffering of others, and argues that, despite established anti-visual interpretations of Burke’s sub lime, such extreme forms of suffering are at the root of the way in which his Philosophical Enquiry (1757) built powerful continuities between ‘real sympathy’ and the reality of imitations in painting or theatre. Moreover, this chapter demonstrates that the same principles led to the reorganisation of the entire visual field: bodies in pain, painstaking styles of representation and hurtful habits of seeing were tied up in ways that determined the bursting forth of a specially modern kind of realism. Sarafianos uses Sir Charles Bell’s gruesome surgical sketches from Waterloo (1815) in order to show that the same tangle of hurtful experiences, tailored on Burke’s precise guidelines, encapsulated drives and aspirations for a ‘sublime real’ with a long career in modern art and criticism.

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

Critique of Heron's Directional-Reading Conflict Theory of Scanning

1969 ◽  
Vol 29 (1) ◽  
pp. 271-276 ◽  
Author(s):  
Robert Fudin
Keyword(s):  
Visual Field ◽  
Eye Movement ◽  
Left Visual Field ◽  
Critical Evaluation ◽  
Slight Modification ◽  
Conflict Theory ◽  
Right Visual Field ◽  
The Right ◽  
The Way

Heron (1957) proposed a theory of scanning of tachistoscopically presented alphabetical stimuli. It provided a unifying framework to interpret the disparate results obtained when a target is exposed such that half of it is in the left visual field and half in the right visual field, and when arrays are presented laterally, i.e., either in the right or left field. The theory basically holds that eye-movement tendencies established through reading are also operative in covert scanning because tachistoscopically exposed material is encoded in a manner similar to the way it is read. This paper accepts this position but offers a critical evaluation of Heron's ideas as to the manner in which these tendencies function. This discussion and a reexamination of the role of these tendencies in reading lead to the conclusion that they operate sequentially, not simultaneously, as Heron contended. A slight modification in Heron's theory is offered in light of this conclusion.

Introduction

2019 ◽  
pp. 1-26
Author(s):  
Alex Dika Seggerman
Keyword(s):  
Modern Art ◽  
The Rich ◽  
Colonialism And Postcolonialism ◽  
The Way

This introduction defines the new term “constellational modernism” to describe Egyptian modern art. As opposed to the vagueness of global and the restrictive idea of transnational, constellational explains the finite nature of Egyptian modernism’s connection abroad as well as the way artists visualize these connections in their artwork. Second, Seggerman discusses the role of Islam in this constellation. These artists and artworks acknowledge Islam (as an idea and as a practice), but they refuse to be defined by it. Third, Seggerman positions Egyptian modernism as part of the rich intellectual framework of the Nahda movement, meaning that these cultural producers were deeply embedded within a wider movement that grappled with ideas of modernity, modernization, tradition, colonialism, and postcolonialism. Lastly, Seggerman defines what modern, modernity, and modernism mean in the context of this book. These redefinitions destabilize the ideas of both a singular modernity and easy plural modernities, and instead pinpointing the overlapping and dyssynchronous connections within a constellation of modernisms.

scholarly journals The Dialectic of Visual Arts Life in West Sumatra 1986-2003

2017 ◽  
Vol 4 (1) ◽  
pp. 27
Author(s):  
Nessya Fitryona
Keyword(s):  
College Students ◽  
Contemporary Art ◽  
Visual Arts ◽  
Transition Period ◽  
Modern Art ◽  
Presence Data ◽  
Art Practices ◽  
Art Works ◽  
West Sumatra ◽  
Historical Movement

West Sumatera is one of areas in the visual arts development in Indonesia. In 1980-1990s, there were found the presence data about installation of art and some alternative art works in art institutions and in public. The emergence that art works caused the struggle of the view of art practices in art society. That struggle seemed to thaw since emergence of Komunitas Seni Belanak (2003). This research explained the process of view of art practices that were occurred in West Sumatra which had changed from 1986 until 2003. This research used the concept of historical movement by Hegel dialectics theory and sociohistorical approach. The changing process of the art practices started from antithesis phase which was divided into two periods. The first antithesis period was the arrival of Agus Purwantoro (1986-1999). The second was the movement of IKIP Padang college students (1995-2003) and continued to the emergence of Komunitas Seni Belanak. The results of this study was the struggles in view of art practices in 1986 until 2003 was important as the transition period between the practices of modern art and the development of contemporary art in West Sumatra.

The Oxford Handbook of Schopenhauer

2020 ◽  
Keyword(s):  
United States ◽  
Visual Arts ◽  
Moral Theory ◽  
Aesthetic Experience ◽  
Scientific Explanation ◽  
The United States ◽  
Empirical Knowledge ◽  
The Sublime ◽  
Central Claim

This collection of thirty-one essays written by contemporary Schopenhauer scholars has six sections: (1) Influences on Schopenhauer, (2) Schopenhauer’s Metaphysics of Will and Empirical Knowledge, (3) Aesthetic Experience, Music, and the Sublime, (4) Human Meaning, Politics, and Morality, (5) Religion and Schopenhauer’s Philosophy, and (6) Schopenhauer’s Influence. Some of the issues addressed concern the extent to which Schopenhauer adopted ideas from his predecessors versus how much was original and visionary in his central claim that reality is a blind, senseless “will,” the effectiveness of his philosophy in the field of scientific explanation and extrasensory phenomena, the role of beauty and sublimity in his outlook, the fundamental role of compassion in his moral theory, the Hindu, Christian, and Buddhistic aspects of his philosophy, the importance of asceticism in his views on how best to live, how pessimism and optimism should be understood, and his impact on psychoanalysis, as well as upon music, the visual arts, and literature. The collection is an internationally constituted work that reflects upon Schopenhauer’s philosophy with authors from a variety of backgrounds, presently working in Australia, Belgium, Brazil, Canada, Ecuador, England, France, Germany, Israel, the Netherlands, New Zealand, Scotland, Spain, and the United States.

scholarly journals The Challenges of Teaching Visual Arts: The Case of Moroccan Higher Education

2017 ◽  
Author(s):  
Arab World English Journal ◽  
Mohssine Nachit
Keyword(s):  
Visual Arts ◽  
Liberal Education ◽  
Quantitative Research ◽  
Freedom Of Expression ◽  
Vital Role ◽  
University Education ◽  
Global Citizen ◽  
Quantitative Research Methods ◽  
Traditional Norms

Visual studies are imparted as majors in many western institutions. This concern with visual culture stems from the vital role of images in communication and how they shape the mindset of the global citizen. Moroccan academia has recently introduced such discipline in some departments in order to modernize the curricula and enhance a liberal education. However, socialization and the dominant local culture favor a more conservative perception of images. The paper explores how these converging narratives operate and how students react to some modern values such as body politics, freedom of expression, subjectivity, etc. The last concern of this study is to analyze to what extent images interrogate and disrupt traditional norms and perceptions and contribute in developing students’ critical thinking, visual literacy, modernist perspectives, intercultural communication and mindfulness. The paper is a mixture of qualitative and quantitative research methods. It is first grounded in the postmodern theoretical framework, but it is also based on a four year teaching visual arts experience, classroom observation, and questionnaires. The ultimate aim of this paper is to share some findings with other practitioners, to address the impediments and challenges of university education and to contribute in designing modern curricula that smoothly prepare the students to embrace multicultural values.

scholarly journals The Role of Elected Scholars on Interfaith Harmony in Pakistan - A Research Study

2020 ◽  
Vol 3 (01) ◽  
pp. 1-18
Author(s):  
Dr. Hafiz Ghulam Anwar Azhari ◽  
Zahoor Alam
Keyword(s):  
Research Study ◽  
Vital Role ◽  
The Other ◽  
Internal Conflicts ◽  
Other Hand ◽  
The World ◽  
Welfare Society ◽  
The One ◽  
The Way

Islam is a humanity based religion and unity plays of a vital role in it. It is not possible for a humane person to deny the importance of unity for a better society. It is the one thing that leads the nations of the world in the way of progress and prosperity. On the other hand chaos and anarchy is such a curse that makes a nation fall into the depths of disgrace. No enemy needs to fight such nation to defeat it. Their own internal conflicts and chaos is enough to dismantle them. Unfortunately this egoism and prejudice has reached its climax among the Muslims of Pakistan. We have failed ourselves in building a balanced progressive and welfare society based on two nation theory. Witnessing this situation many scholars from different schools of thoughts have tried their best towards the progress of inter-Muslim harmony and tolerance. In this regard they have highlighted the evil effects of chaos and positivity of unity. They have also brought forward such advises both in speech and written through which damage caused by sectarianism can be handled.

The Participatory Art Museum: Approached from a Philosophical Perspective

2016 ◽  
Vol 79 ◽  
pp. 319-339 ◽  
Author(s):  
Sarah Hegenbart
Keyword(s):  
Contemporary Art ◽  
Aesthetic Experience ◽  
Art Museum ◽  
Philosophical Perspective ◽  
Participatory Art ◽  
Exhibition Space ◽  
Art Practices ◽  
The Status ◽  
The Spectator

AbstractThis chapter introduces the participatory art museum and discusses some of the challenges it raises for philosophical aesthetics. Although participatory art is now an essential part of museological programming, an aesthetic account of participatory art is still missing. The chapter argues that much could be gained from exploring participatory art, as it raises fundamental challenges to our understanding of issues in aesthetics, such as the nature of aesthetic experience, the value of art, and the role of the spectator. Moreover, participatory art fundamentally questions the status of the museum as an exhibition space for contemporary art practices.

Voice and Space

2010 ◽  
pp. 102-112
Author(s):  
Richard Coyne
Keyword(s):  
Visual Field ◽  
Film Studies ◽  
Public Spaces ◽  
Mobile Telephony ◽  
Spatial Design ◽  
Spatial Understanding ◽  
The Relationship ◽  
The Voice ◽  
The Way

The widespread use of mobile telephony prompts a reevaluation of the role of the aural sense in spatial understanding. There are clear correlations between voice and space. The attributes of the voice constitute important variables in the way people position themselves in public spaces: to speak, to hear, or to get away from the voice. The voice can connote intimacy, communality, and welcome, but also has the potential for disquiet and disruption, particularly as an unseen acousmêtre, (a term developed in film studies). Spatial design can benefit from an exaggerated consideration of voice, to counteract the primacy already given to the visual field. This chapter examines the relationship between the voice and space in public spaces, and the technologies and practices involved.

scholarly journals The Role of Information Experience on IT Professionals’ Twitter Use

Libri ◽  
2020 ◽  
Vol 70 (1) ◽  
pp. 1-15 ◽  
Author(s):  
Bazilah A. Talip ◽  
Bhuva Narayan ◽  
Jason Watson ◽  
Sylvia Edwards
Keyword(s):  
Vital Role ◽  
It Professionals ◽  
Professional Networking ◽  
Theoretical Perspectives ◽  
Online Spaces ◽  
Professional Information ◽  
Role Of Information ◽  
Share Information ◽  
The Way

AbstractTwitter acts as an information gateway as it provides a place where professionals network and share their knowledge. Twitter has increasingly influenced the way people use and share information. However, limited research demonstrates IT professionals’ information experience on Twitter impacts the way they use it for professional purposes. The study aimed to understand how such information experiences impact on the way IT professionals use Twitter for professional purposes. Eleven IT professionals were recruited for this study to understand the participants’ information experience through their own individual perspective, with the data analysed using constructive grounded theory. This study revealed that IT professionals’ information experience plays a vital role in creating professional networking and knowledge sharing in online spaces. These lived experiences influence the way IT professionals use Twitter for professional purposes. Thus, the findings of this study contribute to theoretical perspectives in the understanding of information experience perspectives within Twitter, along with a foundational understanding of the ways in which microblogging is used for professional purposes. The findings can help organisations understand and provide for this emerging channel of professional information sharing for its staff and stakeholders.

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